2nd Chance is a terrific American tall tale as well as a cautionary tale and a ripping good yarn.
Criterion has beautifully preserved this vigorous portrait of New York City life that’s rarely depicted on screen.
Criterion’s transfer of Bahrani’s feature debut is a testament to the film’s vital, unglamorous depiction of New York City in the wake of 9/11.
Ramin Bahrani’s film is a turbulent and snarkily self-aware melodrama about breathless social climbing.
Ramin Bahrani’s Fahrenheit 451 represents every culturally bastardizing tendency it pretends to decry.
The 99 Homes director discusses gun-toting real estate agents and not blaming his characters for the moral dilemmas they find themselves in.
Ramin Bahrani’s talent for orchestrating sequences of tightly wound tension is in full bloom here, as is his complementary knack for quieter grace notes.
For me, Ebert always seemed to be there when I needed him.
Alternates between business-world morality play, family drama, and portrait of a local community without ever comfortably integrating these disparate elements into his messy stew.
There is some fantastic staging at work here.
With Goodbye Solo, Ramin Bahrani continues to channel Iranian cinema’s social-realist aesthetic and interest in marginalized figures.
The film is likely to be embraced by its boosters as a modern embodiment of the Italian neorealist style.
In an about-face after Man Push Cart, Ramin Bahrani tends more to his story’s neorealist particulars than to exploiting its symbolic potential.
Ramin Bahrani casts nearly every scene as a disingenuous, pedantic example of the cosmos’s callous cruelty.